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Essentials in Conducting
- Language
- EN
- Format
- EPUB
- Size
- 1.4 MB
Description
Published in the early 20th century, this work provides a detailed introduction to the principles and practices of conducting music. It is primarily aimed at amateur musicians and those seeking to develop their skills in leading vocal and instrumental ensembles, such as choirs and orchestras. The author explains the fundamental role of a conductor, emphasizing the importance of gestures, facial expressions, and body language in achieving cohesive and expressive performances. The book discusses necessary personal qualities, technical techniques, and psychological considerations involved in conducting, offering practical guidance grounded in the author's experience with training music supervisors.
The text also explores the concept that conducting skills can be taught and learned, challenging the notion that natural talent alone determines success in the role. It underscores the value of education and training for both aspiring and established conductors, providing foundational knowledge targeted at amateur and semi-professional musicians seeking to improve their leadership in musical performances.
The text also explores the concept that conducting skills can be taught and learned, challenging the notion that natural talent alone determines success in the role. It underscores the value of education and training for both aspiring and established conductors, providing foundational knowledge targeted at amateur and semi-professional musicians seeking to improve their leadership in musical performances.
From the opening pages
Appendix B—Score of second movement of Haydn's Symphony, No. 3 166 Index 181 PREFACE In putting out this little book, the author is well aware of the fact that many musicians feel that conductors, like poets and teachers, are "born and not made"; but his experience in training supervisors of music has led him to feel that, although only the elementary phases of conducting can be taught, such instruction is nevertheless quite worth while, and is often surprisingly effective in its results. He has also come to believe that even the musical genius may profit by the experience of others and may thus be enabled to do effective work as a conductor more quickly than if he relied wholly upon his native ability. The book is of course planned especially with the amateur in view, and the author, in writing it, has had in mind his own fruitless search for information upon the subject of conducting when he was just beginning his career as a teacher; and he has tried to say to the amateur of today those things that he himself so sorely needed to know at that time, and had to find out by blundering experience. It should perhaps be stated that although the writer has himself had considerable experience in conducting, the material here presented is rather the result of observing and analyzing the work of others than an account of his own methods. In preparation for his task, the author has observed many of the better-known conductors in this country, both in rehearsal and in public performance, during a period of some twelve years, and the book represents an attempt to put into simple language and practical form the ideas gathered from this observation. It is hoped that as a result of reading these pages the amateur may not only have become more fully informed concerning those practical phases of conducting about which he has probably been seeking light, but may be inspired to further reading and additional music study in preparation for the larger aspects of the work. The writer wishes to acknowledge the material assistance rendered him by Professor John Ross Frampton, of the Iowa State Teachers College, and Professor Osbourne McConathy, of Northwestern University, both of whom have read the book in manuscript and have given invaluable suggestions. He wishes also to acknowledge his very large debt to Professor George Dickinson, of Vassar…
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